Archive for August 1st, 2018

Note: I’m counting down ten books that have influenced the way that I think about the creative process, in order of the publication dates of their first editions. It’s a very personal list that reflects my own tastes and idiosyncrasies, and I’m always looking for new recommendations. You can find the earlier installments here.

The Whole Earth Catalog—or, as Steve Jobs famously called it, “Google in book form”—was a product of a time and place that is close to my heart: the Bay Area of the late sixties and early seventies, centered in particular on Berkeley and Sausalito. Stewart Brand conceived of it as a book, modeled on the L.L. Bean catalog, that would provide resources for exploring a range of issues that remain relevant today, notably sustainable living, simplicity, and ecology in its original sense, which spans everything from planetary environmentalism to the humblest forms of home economics. In its book recommendations, accompanied by a running commentary that articulated an entire theory of civilization, it gave readers the tools to investigate space exploration, personal computing, art, literature, anthropology, architecture, health, backpacking, mysticism, and much more. As a work that unfolds endlessly onto others, it’s been the most influential book in my life by far, and the solutions that it offers are far more pragmatic than many readers tend to realize. As Brand once wrote about voluntary simplicity:

Personally I don’t like the term…I’m more comfortable with the idea of “right livelihood,” which is one of the folds of the Buddhist Eightfold Path to enlightenment. It’s less of an exhortation than an observation—greedy behavior makes a sour life. The idealism of “Voluntary Simplicity” is okay I suppose, but it obscures what I find far more interesting—the sheer practicality of the exercise.

Taken simply as a guide to the world’s greatest bookstore, it’s an essential part of anyone’s reading life. (The edition to get is The Next Whole Earth Catalog, which is so massive and packed with information that leafing through its pages feels like an adventure in itself.) But its larger vision is what lingers. The Catalog is both a guide to good reading and a window onto an interlocking body of approaches to managing the complicated problems that modern life presents. In its physical format, with double spreads on everything from computers to ceramics, it naturally emphasizes the connections between disciplines, and the result is an atlas for living in boundary regions, founded on an awareness of how systems evolve and how individuals fit within the overall picture. Its intended readers, both then and now, are resistant to specialization; interested in technology as a means of enabling human freedom; and inspired by such freelance intellectuals as Buckminster Fuller, Gregory Bateson, and Stewart Brand himself, who move gracefully from one area of expertise to the next. Browsing through it even for a few minutes is enough to rekindle your belief in serendipity and the possibilities that the world presents, and although it has inspired a number of worthy successors, notably Kevin Kelly’s Cool Tools, the original remains irreplaceable. It turned me, for better or worse, into a generalist. And it’s still the model I try to follow whenever I wonder what my life should be.

Each poem demands that I treat it differently from the rest, come to terms with it, seek out its own best beginning and ending. And yet, I would be kidding myself if I believed that nothing continuous existed in the transactions between myself and my poems. I suppose this is what we mean by craft, those transactions that become so continuous we not only associate ourselves with them, but allow them to represent the means by which we make art.